


How Hamilton Works: Literary Version

by LynnaeKenzington



Category: Hamilton - Fandom
Genre: Burr getting dragged into this, Gen, Literary restructuring, added scenes, outline, summery
Language: English
Status: Completed
Published: 2018-03-15
Updated: 2018-03-15
Packaged: 2019-03-31 16:56:18
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,697
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/13979508
Author URL: https://archiveofourown.org/users/LynnaeKenzington/pseuds/LynnaeKenzington
Summary: How to describe this... I don’t think ‘essay’ exactly counts. Think more along the lines of you were given a writing assignment that said:“Write the entire ‘thematic’ beginning of Hamilton the Musical by summarizing and translating the first four songs (following the plot structure of 2-4), and placing it into a literary format while incorporating the information of the first in an appropriately palatable way (avoid excessive exposition).”So essentially that, in a detailed scene by scene breakdown that points out what good plot relevant information is being conveyed at that moment. Like one of those ‘how to write, by example’ videos.





	How Hamilton Works: Literary Version

**Author's Note:**

> Take note that when I use words like ‘outline’ and ‘summery’ loosely as with most of my own books’ drafts it is comment per comment for interactions and conversation, stating matter and usually what was said, if not direct quotes. So like reading a story but it’s only telling exposition; thus the exact opposite of the ‘assignment’ goal.
> 
> Fun.
> 
> Also note that since it’s only the first four songs, (what could easily equal the first chapter), and in traditional narrative an emotional revelation about another character would come later, the ending may come off a bit clipped---though seeing as this is not intended to be considered a longer storyline (say like a one-off episode one or an OVA) having this climax hit early is somewhat okay if handled well in the moment (the actual writing and phasing of the scene).
> 
> Likewise I am not intending to write this in ‘story mode’ as an adapted scene, (prior examples see the never-to-be-finished ‘Ghost of Accounting’ [Handsome Jack’s death] and ‘LowRiders’ [Achievement Hunter Lowriders episode GTA V]). This is mainly because I don’t have the capability to channel as much political fervor required for Hamilton’s rants (on any other subject I could do it, the original American Revolution and banking however... no). Any one who is up for it are more than welcome to use this as a guideline if they want.
> 
> All that said, “read it”---I added some humorous moments at Burr’s expense and you may actually like it.
> 
> ****
> 
> (Parentheses) usually indicates added non cannon scene from original play.
> 
> Songs (most used) in order.
> 
> Aaron Burr, Sir | My Shot | The Story of Tonight | Alexander Hamilton

Visually characterization of the scene and young Alexander Hamilton walking through the streets of New York, who we soon find is in pursuit of Aaron Burr; finally catching up to him Hamilton introduces himself and asks that very question. From Burr’s response we know he’s a cautious man and from Hamilton’s gabbling that he’s both young and timid yet has a bold violent streak. Here we also get some cleverly vailed exposition.  
          We learn Hamilton has tried to attend college only to get in a physical altercation over the fact he has very strong political beliefs and supports the revolution. He claims he ‘isn’t stupid’ and this reaction was the reason he wasn’t accepted. From the tone and presentation we learn that Burr is someone Hamilton looks up to, going this far to track him down just for advice; then showing his childish humility and surprised over Burr’s confirmation that he’s an orphan as well. On Burr’s side we learn he’s a young and celebrated college graduate and get hints that he also holds a sad past.

Burr catches on rather quickly to the fact Hamilton can’t go five sentences without mentioning the revolution and seeing something in him decides to take him for drinks to give his own advice. Hamilton, of course, accepts, but is taken aback by the wisdom Burr is trying to confide in him.  
        Burr’s motto of ‘talk less; smile more---don’t let them know what your against or for’ not only gives a key in to how he will act for the rest of the play, but also demonstrates his experience in the political arena and how important it is to be cautious, concise, and mindful of perception and your own reputation. Hamilton’s reaction to this ‘acting’ advice demonstrates the growing dichotomy between them: Hamilton being young and bold while Burr is careful and at times stagnant.  
          Burr gives a genuine warning to Hamilton about how being mouthy and honest can be deadly, Hamilton only having a moment to comprehend and worry about the reality of that before our example conflict walks into the bar.

The Trio, noticeably already a bit drunk, are busy bragging and goofing off to whoever happens to be nearest, giving (slightly egotistical and heavy handed, but no less fitting) expositional introductions of themselves.  
         Our first (and most sober) ‘rapping’ bragger is Laurens, who claims to be a worthy fighter red coats fear and makes his abolitionist goals clear while unknowingly proving himself the humblest and noblest of the trio.  
        Our second bragger is Lafayette, who in his ‘quotation’ compares himself to Lancelot (a heroic, charismatic, possibly womanizing character) and also states he’s only there to spite the English king and by his ending comment indicates his pride/egotism (reputation as of then unconfirmed).  
         The third and final bragger is of course Mulligan, who notably, besides the ‘your mother’ low blow comment off the bat, only chooses to highlight only his reputation as a stud rather than any heroic characteristics (which will be explained momentarily) and in doing so shows himself to be the ‘sinner’ of the trio; doubled by Lafayette’s shocked and awed reaction to his claims of a foursome.  
          Laurens, the heart of the three, diverts away from this tale back to drinks, in doing so promoting a toast to the revolution.

After kicking back their fresh drinks Laurens recognizes Burr and states his reputation as the ‘pride of Princeton college’, asking him to enlighten them. Burr coolly shoots this down prompting the trio to pester him more, unknowingly setting up Hamilton’s surprise line entry as he catches on to Burr’s flaw right then and states as such [‘if you stand for nothing Burr, what will you fall for?’], thus causing the entire bar to go quiet.

Having gained the trio’s full attention they turn on him, demanding to know who the ‘kid’ is. Under pressure Hamilton demonstrates another key character trait; snap action. Before the trio realizes what they’ve done the floodgates are open and Hamilton is boldly spelling it out and speaking his mind, choosing to describe himself as they did and proving his skill with words in the process.  
          Hamilton rants about being young and scrappy, brags about his dream of studies and rants some more about being turned down for his opinions and the fact he was poor and from a poorer family.  
          (As this heated speech keeps coming the trio share a glance over ‘what did we do’ while Burr is eyebrowing all of this.)  
          Still going Hamilton admits his frustrations about not being noticed and needing to (do exactly this; yell) in order to be noticed, going on about being smart with a mind older than his age while also criticizing the conditions he’s been forced into---which, (thanks to Hamilton’s already determined politically oriented stream of consciousness), turns seamlessly into a rant about the king and the state of the colonies.  
           (This catches the trio’s interest while Burr is rubbing away a headache, checking the crowd and praying he doesn’t get connected to this.)  
           When Hamilton comes to the point about ‘there will be a revolution’ he grits his teeth and mutters ‘and to me’, indicating his deep and ‘passionate’ (furious) drive to make that a reality. Hamilton jibbing (and jabbing his finger at himself and the trio) about his inclusion in a coming history also flatly expresses this determination and ego.  
             It’s only when he gets to the point where he’s demanding a gun and a fight does Hamilton’s young insecurities kick back in and he apologizes for ‘shooting off at the mouth’, admitting he gets like this.  
             The trio, instead of being put off, are astounded by this and practical induct him on the spot, with Laurens in particular saying they should get Hamilton in front of a crowd. (Hamilton is a bit shy about this proclamation but the others insist he’s a natural; all the while claiming Burr’s table as their own and foiling his escape, Burr instead choosing to be as discreet as possible as he gets squished in between Lafayette and Mulligan.)  
          The trio, supplied with more alcohol, start a drinking game about why they want to join the revolution (plus more brags).

Lafayette wants no monarchy in France yet is worried about unrest and anarchy, though he still can’t say the word; reasoning his goal to see how America favors before daring to return home, and advocating again his skills as a soldier and a good ‘shot!’ (All drink, last one to hit the table goes next).  
         Mulligan admits to his low social status as a tailor’s apprentice and how the revolution could change that for him, giving him a fair ‘shot!’ (Drink, next).  
          Laurens follows suit with his own goal of abolition and leading the first black battalion, prompting a very loud ‘shot!’ with cheers.

Burr, coming out of his unhappy burrito, stubbornly tells them to quiet down; trying to placate the lot through fact he agrees with them but warns that they’re all gonna die if they don’t shut up.  
             (Momentarily forgetting the roles of the game) Burr says fool gonna get ‘shot’; thus prompting another round (and making himself more irritated about being dragged into this.) Hamilton, (already flattered by this inclusion among friends), tries to comfort Burr and highlights the fact it was a stroke of fate which got them all together and that they should do something about it, praising each of the trio (before putting forth his plan).  
             Hamilton starts going on about a lot of things before eventually coming to the point of what would happen after they win, the state of the nation, nation of states---before getting in a looooong debate about debt and banking.  
            (Meanwhile Burr is seething in his own personal hell and wholly blaming Hamilton showing up for not only causing this situation but also worsening it.)

{cut to}

(last call and everyone is utterly wasted, including Burr who’s being constantly cuddled by Mulligan as he swings them both and sings off key toast the others weakly join in on.)

(During the many toasts to freedom Hamilton admits he’s never really had friends before and promises to make them proud. The trio cheer him on for this but in his drunken revelry Hamilton starts to admit to his past; first about the hurricane, the story, and collection by the islanders that got him to New York---then as the others try to console him he goes on the ‘I’ve suffered worse’ route and admits all of it. Dad left; mother, a whore, died holding him; cousin of custody committed suicide and left him the debt---and as the four are all shocked Hamilton starts on about how he could have died, yet hadn’t, and how much time he devoted to thinking about death; his theories and his fears, the unknown of what he’d do when he finally faced it...)

(Cut to Burr starring into his own mug and considering how his parents left him. Alone with no instructions and a legacy to protect.)

(Burr gets started out of this pool of thought by Mulligan comprehending the fact he can move and shoving Burr away to give Hamilton a hug instead; this being enough to rouse Laurens to the lateness of the hour and that they should probably be getting back. Laurens himself hoists Lafayette up to a weary stance and the pair do their best to drag Mulligan out, leaving Burr and Hamilton alone.)  
            (Hamilton comments on ‘what a day’ but after that last proclamation Burr doesn’t have the heart to blame him for it right then; instead offering to help Hamilton back home. Hamilton is grateful for this and is happy to be able to call Burr a friend. Burr is still the tiniest bit withdrawn on that idea but let’s it be and leaves Hamilton at his doorstep before heading towards his own.)

{cut to}

(The next morning Burr wakes up with one hell of a hangover and isn’t really sure what happened, the pierces slowly falling into place making him groan outright at the fact he was almost definitely going to be hearing about this again.)

 

 

The End


End file.
